Theater

The best source for independent coverage of Philadelphia theater.

Kill Move Paradise at the Wilma. Photo by Joanna Austin, AustinArt.org.

KILL MOVE PARADISE (Wilma Theater): 2018 Fringe review

There’s no fourth wall here: the audience is complicit in the consideration of POC men who lost their lives to judicial murder

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Fringe in Sketch: NIGHTMARE FUEL (Sarah Knittel)

Chuck Schultz sketches Sarah Knittel’s Fringe show.

Photo by Mark Garvin.

IRVING BERLIN’S HOLIDAY INN (Walnut Street Theatre): Longing for a time that never was

IRVING BERLIN’S HOLIDAY INN takes us back to a kinder, gentler time when people could burst into song for no reason whatsoever.

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WHITE FEMINIST (Lee Minora): 2018 Fringe review

A no-holds-barred look at the ways in which white feminists, with the best of intentions, don’t always walk even their own talk.

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HAPGOOD (Lantern): Rising to the challenge of a gleefully complicated spy story

Hapgood is not just a spy story, it’s also a physics story

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WOLFCRUSH: a queer werewolf play (On the Rocks): 2018 Fringe review

WOLFCRUSH misses the no-holds-barred humor, shock value, and pop culture-infused insight into youth culture of playwright Haygen-Brice Walker’s previous Fringe entries

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AN UNOFFICIAL UNAUTHORIZED TOUR OF LOVE PARK (Rose Luardo/Kate Banford): 2018 Fringe review

The piece gets its appeal from the increasingly outlandish characters and an inventive absurdity that devolves into a game of fetch and walking construction barrels.

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ECCENTRICITIES and random notes on Tennessee Williams

Tennessee Williams slept with my boyfriend’s father. I love saying that at a party.

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Jacob Tischler Stops In Irving Berlin’s Holiday Inn

Jacob Tischler returns to Philadelphia for the song and dance extravaganza, Irving Berlin’s Holiday Inn.

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Fringe in Sketch: P PAN AND BEYOND (Kathleen Murphy)

Chuck Schultz talks to Kathleen Murphy about her Fringe show.

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A VACATION (Poison Apple Initiative): 2018 Fringe review

Dante had Virgil; in the divine comedy of our times, we have a self-absorbed vlogger.

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NIGHTMARE FUEL (Sarah Knittel): 2018 Fringe review

A punk-horror Fringe show which engages the audience and keeps the us engaged

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SONG OF MY SELF-CARE (Jimmy Grzelak/PHIT): 2018 Fringe review

Gzelak finds the poetry and the absurd in the mundane.

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Fringe in Sketch: THE PRESENTED (Chris Davis)

This solo show exercised the best part of Davis’s character acting, Chris Davis as Chris Davis. Chris Davis takes us through the process of selling artwork to a producer, working…

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B. FRANKLIN: WORDS MATTER (Vagabond Productions): 2018 Fringe review

An extraordinarily splendid opportunity for an informative and fun visit with Benjamin Franklin

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BEHOLD HER (Half Key Theatre Company): 2018 Fringe review

Publicity for the show focuses on the question, “What is beauty?,” but the show itself goes much deeper.

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THE ACCOUNTANT (Trey Lyford): 2018 Fringe review

Do the math. That’s what accountants do, right? The show is 75 minutes long. I looked at my watch about ten times, from which we can deduce by simple arithmetic…

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CHAOS THEORY (Jessica Creane): 2018 Fringe review

The reliance on audience volunteers yields some interesting moments, framed in a series of games, but too often Creane pushes moments past humor.

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CLOSE YOUR LEGS, HONEY — A NEW MUSICAL (PHIT/Hannah Parke & Shamus Hunter McCarty): 2018 Fringe review

CLOSE YOUR LEGS, HONEY is a cheery musical tackling the difficult subject of societal expectations for women and the shit women have to put up with.